A vibrant and fresh cinematic debut has emerged from the hands of a filmmaker possessing genuine prowess—Charlie Polinger, whose American indie thriller, titled "The Plague," shone brightly at the 2025 Cannes Film Festival. Among the myriad of first films showcased, "The Plague" distinguished itself as a standout. During the film's world premiere introduction, actor Joel Edgerton, who helms his own production outfit, Blue-Tongue Films (albeit uninvolved in this project), revealed that he had already been acquainted with Polinger's short films and eagerly anticipated the filmmaker's foray into feature-length storytelling. That anticipated moment has arrived, and Polinger has indelibly etched his name in cinematic history. Even amidst the festival's extensive film lineup, "The Plague" continues to resonate, lingering in my mind and its haunting score echoing long after the credits roll.
While the narrative of bullying may seem somewhat predictable, and despite the film never veering into full-fledged horror despite its tense, almost sinister undertones, "The Plague" remains an impressive maiden voyage marked by exceptional filmmaking across all facets. Charlie Polinger, who penned and directed the film, sets "The Plague" in the early 2000s, weaving a tale of youthful camaraderie turned cruel at a water polo summer camp. As someone who has personal experience with such camps—awkward and parent-free zones where feisty, bored adolescents are thrown together for a week—I can attest to the film's authenticity.
Newcomer Everett Blunck stars as Ben, a lanky kid striving to fit in with a pre-existing group of campers. Kenny Rasmussen co-stars as Eli, an eccentric boy battling skin rashes that the other kids mistake for a terrifying disease, dubbing it "The Plague." They mock him, taunt him, and steer clear of him, yet Eli remains indifferent, doing as he pleases, undeterred by their relentless bullying. Kayo Martin portrays Jake, the bullying ringleader who never misses an opportunity to pick on anyone. The performances delivered by Everett Blunck and Kayo Martin are among the finest young talents I've witnessed in recent times. They are not only convincing but also daring, diving into a disturbing dynamic that is crucial for the narrative's success.
Beyond the authenticity of the children's portrayals (and Joel Edgerton's masterful depiction as their coach), this film stands as a testament to cinematic excellence, roaring to life with unwavering prowess. Steven Breckon's cinematography is nothing short of mesmerizing, capturing the pool, the buildings, and every single frame in a manner that is instantaneously eerie yet captivating, unsettling yet entrancing. His distinctive vision is undeniable, and it's heartening to see him collaborate with Polinger. The score is nothing less than dominant – a haunting horror symphony anchored by "aaah" and "oooh" vocals seamlessly integrated into percussive beats. The ingenious musician behind this chilling score is Johan Lenox, who deserves accolades for crafting such an unsettling auditory landscape. It lingers in the mind, adding to the film's chilling allure, keeping audiences riveted even though it defies traditional horror tropes. At its core, the narrative transcends bullying, delving deeper into themes of self-acceptance and resistance to peer pressure and conformity. A formidable challenge, particularly for a child yearning for coolness and group acceptance. This is a film of exceptional merit – utterly original and spellbinding, with Polinger demonstrating his remarkable prowess from the outset.
